"Collide" for piano, prepared piano and electronics (original composition) [microform]

collide explores a number of areas that have been of considerable interest to me for some time. Many of these stem from my readings in film theory--particularly from the writings of the directors Eisenstein (montage theory), Tarkovsky (transcendence of the ordinary) and Godard (depth and panning) but also through more general elements such as slow motion and unorthodox narrative structure. I have also explored aspects of acoustic resonance, especially in the electronic part of the work, through various manipulations of acoustic sounds and also through unusual sound projection itself--in this case a gradual movement of sound from the expanse of the stage into the confines of the resonant body of the piano.

The sounds heard on the CD have been derived from acoustic piano and prepared piano sources and sine tones. They have been analysed and processed with various custom designed algorithms with the software MAX/MSP (Cycling '74) and mixed to the final recording that accompanies the pianists with ProTools (Digidesign).